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Livesey, G. / A. Moulis, Eds.: Le Corbusier, 4 Volume Set

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LIVESEY, G. / A. MOULIS, EDS.: LE CORBUSIER, 4 VOLUME SET Volume I. Formative Years, 1887-1916 Education, Apprenticeship and Early Travels 1. H. Allen Brooks, ‘Le Corbusier’s Formative Years at La Chaux-de-Fonds’, in H. Allen Brooks (ed.), Le Corbusier, (Princeton: Princeton University Press, 1987), pp. 27-45. 2. Giuliano Gresleri, ‘Home-Ties—Adrift Abroad: The Oriental Journey of CH. Jeanneret’, Daidalos, 15, (March 1986), pp. 102-111. 3. Christoph Schnoor, ‘Munich to Berlin: The Urban Space of German Cities’, in Jean-Louis Cohen, (ed.), Le Corbusier: An Atlas of Modern Landscapes, (London: Thames and Hudson, 2013), pp. 85-90. 4. Le Corbusier, ‘The Parthenon’, in Journey to the East, trans I. Zaknic, (Cambridge, Mass.: MIT Press, 1987), pp. 209-239, 263- 266. Early Projects and Themes 5. Jacques Grubler, ‘From Feeling to Reason: Jeanneret and Regionalism’, in Le Corbusier: Early Works by Charles-Edouard Jeanneret-Gris, (New York: St. Martin’s, 1987), pp. 112-119. 6. Geoffrey Baker, ‘The Early Villas in La Chaux-de-Fonds by Charles-Edouard Jeannneret-Gris’, in Le Corbusier: Early Works by Charles-Edouard Jeanneret-Gris, (New York: St. Martin’s, 1987), pp. 8-24. 7. Peter Serenyi, ‘Le Corbusier, Fourier, and the Monastery of Ema’, Art Bulletin, (Dec. 1967), pp. 277-286. 8. Peter Eisenman, ‘Aspects of Modernism: Maison Dom-ino and the Self-Referential Sign’, Oppositions, no. 15/16, (Winter/Spring 1979), pp. 118-128. Toward an Architecture 1917-1929. Transitional Years: Amedée Ozenfant, Purism, L’Esprit Nouveau 9. H. Allen Brooks, ‘The Transitional Years: Jeanneret’s Move to Paris 1917-1920’, in Le Corbusier’s Formative Years: Charles- Edouard Jeanneret at La Chaux-de-Fonds, (Chicago: University of Chicago Press, 1997), pp. 471-503. 10. Le Corbusier and Amédée Ozenfant, ‘Purism’, in Robert L. Herbert, (ed.), Modern Artists on Art: Ten Unabridged Essays, (Englewood Cliffs: Prentice-Hall, Inc., 1964), pp. 58-73. 11. M. Christine Boyer, ‘A Method for the Arts of Today: Purism, Après le Cubisme, and L’Esprit Nouveau’, in Le Corbusier, homme de lettres, (New York: Princeton Architectural Press, 2011), pp. 261-276, 725-727. 12. Kenneth E. Silver, ‘Ars Longa’, in Purism and the Spirit of Synthesis, (New York: Barbara Mathes Gallery, 1986). Vers une architecture, 1923 13. Le Corbusier, ‘Argument’, ‘Three Reminders To Architects: Volume’, and ‘Eyes That Do Not See: Liners’, in Toward an Architecture, trans. J. Goodman, (Los Angeles: Getty Research Institute, 2007), pp. 85-89, 99-106, 145-158, 308-310, 317- 319. 14. Frederick Etchells, ‘Introduction’, in Le Corbusier, Towards a New Architecture, trans. F. Etchells, (New York: Payson & Clark, 1927), pp. v-xvii. 15. Peter Collins, ‘The Mechanical Analogy’, in Changing Ideals in Modern Architecture, (Montreal: McGill-Queen’s University Press, 1967), pp. 164-166. Purist Villas 16. Richard A. Etlin, ‘A paradoxical avant-garde: Le Corbusier’s villas of the 1920s’, Architectural Review, Vol. CLXXXI, No. 1079, (January 1987), pp. 21-26, 31-32. 17. Kurt W. Forster, ‘Antiquity and Modernity in the La Roche-Jeanneret Houses of 1923’, Oppositions, no. 15/16, (Winter/Spring 1979), pp. 131-153. 18. Philippe Boudon, ‘Le Corbusier’s Conception at Pessac’, in Lived-in Architecture: Le Corbusier’s Pessac Revisited, trans. G. Onn, (London: Lund Humphries, 1972), pp. 29-46. 19. Colin Rowe, ‘The Mathematics of the Ideal Villa: Palladio and Le Corbusier Compared’, Architectural Review, 101, (March 1947), pp. 101-104. 20. Tim Benton, ‘Villa Savoye and the Architects’ Practice’, in H. Allen Brooks (ed.), Le Corbusier, (Princeton: Princeton University Press, 1987), pp. 83-105. 21. Richard Meier, ‘’Les Heures Claires’’, in Yukio Futagawa, (ed.), Le Corbusier: Villa Savoye, Poissy, France. 1929-31, (Tokyo: A.D.A. Edita, 1972), pp. 2-7. Themes: Five Points of a New Architecture, the Architectural Promenade 22. Le Corbusier and Pierre Jeanneret, ‘Five points towards a new architecture’, in Ulrich Conrads, (ed.), Programs and Manifestoes on 20th-Century Architecture, (Cambridge, Mass.: MIT Press, 1970), pp. 99-100. 23. Werner Oechslin, ‘Les Cinqs Points d’une Architecture Nouvelle’, Assemblage, No. 4, (October 1987), pp. 83-93. 24. Bruno Reichlin, ‘The Pros and Cons of the Horizontal Window: The Perret-Le Corbusier Controversy’, Daidalos, 13, (September 1984), pp. 65-78. 25. Flora Samuel, ‘Elements of the Architectural Promenade’, in Le Corbusier and the Architectural Promenade, (Basel: Birkhäuser, 2010), pp. 85-101. The City of Tomorrow 1920-1933. Urbanisme, 1925 26. Le Corbusier, ‘A Contemporary City’, in The City of Tomorrow, trans. F. Etchells, (New York: Payson & Clarke, 1929), pp. 164- 177. Urban Projects and CIAM 27. Norma Evenson, ‘A City for Three Million People’, and ‘The Voisin Plan’, in Le Corbusier: The Machine and the Grand Design, (New York: George Braziller, 1969), pp. 13-20, 112-114. 28. Kenneth Frampton, ‘The City of Dialectic’, Architectural Design, Vol. XXXIX, (October 1969), pp. 541-546. 29. Sigfried Giedion, ‘The International Congresses for Modern Architecture (CIAM) and the Formation of Contemporary Architecture’, in Space, Time and Architecture: The Growth of a New Tradition, (Cambridge, Mass.: Harvard University Press, 1982), pp. 696-706. Volume II. Allied Arts, 1925-1937 L'Art décoratif d'aujourd’hui (1925) 30. Le Corbusier, ‘Type-needs. Type-furniture’, in The Decorative Art of Today, trans. J. Dunnett, (Cambridge, Mass.: MIT Press, 1987), pp. 67-79. Furniture and Interiors 31. Charlotte Benton, ‘Le Corbusier: Furniture and the Interior’, Journal of Design History, 3, no. 2-3 (1990): pp. 103-124. The Role of Drawing, Painting, Sculpture and Colour 32. Christopher Green, ‘The Architect as Artist’, in Le Corbusier: Architect of the Century, (London: Arts Council of Great Britain, 1987), pp. 110-118. 33. Geoffrey Baker, ‘Le Corbusier: Sketches and Drawings’, Architectural Design, 52, 7/8, (1982), pp. 64-69. 34. Richard Joseph Ingersoll, ‘Le Corbusier: A Marriage of Contours’, in Le Corbusier: A Marriage of Contours, (New York: Princeton Architectural Press, 1990), pp. 7-16. 35. Fernand Leger, ‘Color in Architecture’, in Stamo Papadaki (ed.), Le Corbusier, Architect, Painter, Writer, (New York: Macmillan, 1948), pp. 78-80. Photography 36. Beatriz Colomina, ‘Le Corbusier and Photography’, Assemblage, 4, (October 1987), pp. 7-23. 37 Thomas L. Schumacher, ‘Deep Space/Shallow Space’, Architectural Review, Vol. CLXXXI, No. 1079, (January 1987), pp. 37-42. World Architect, 1928-1936. League of Nations and Mundaneum 38. Sigfried Giedion, ‘The League of Nations Competition, 1927: Contemporary Architecture Comes to the Front’, in Space, Time and Architecture: The Growth of a New Tradition, (Cambridge, Mass.: Harvard University Press, 1982), pp. 530-539. 39. Giuliano Gresleri, ‘The Mundaneum Plan’, in Carlo Palazzolo and Riccardo Vio (eds.), In the Footsteps of Le Corbusier, (New York: Rizzoli, 1991), pp. 93-113. International Encounters: U.S.S.R., Latin America, North Africa and America 40. Jean-Louis Cohen, ‘Le Corbusier and the Mystique of the U.S.S.R.’, Oppositions, no. 23, (Winter 1981), pp. 85-121. 41. Moses Ginzburg, ‘Letter to Le Corbusier’, in A. Kopp, (ed.), Town and Revolution, (London: Thames & Hudson, 1970), pp. 253- 254. 42. Fernando Pérez Oyarzun, ‘Le Corbusier in South America: Reinventing the South American City’, in Le Corbusier & The Architecture of Reinvention, (London: AA Publications, 2003), pp. 141-153. 43. Mary McLeod, ‘Le Corbusier and Algiers’, Oppositions, no. 19/20, (Winter/Spring 1980), pp. 54-85. 44. Mardges Bacon, ‘The "Call" to American Industrialists’, in Le Corbusier in America: Travels in the Land of the Timid, (Cambridge, Mass.: MIT Press, 2001), pp. 184-189, 365-368. 45. Le Corbusier, ‘The Skyscrapers Of New York Are Too Small’, in When the Cathedrals Were White: A Journey to the Country of Timid People, trans. F.E. Hyslop, Jr., (New York: McGraw-Hill Book Co., 1964), pp. 51-58. Housing Projects 46. Brian Brace Taylor, ‘Technology, Society, and Social Control in Le Corbusier’s Cité de Refuge, Paris, 1933’, Oppositions, no. 15/16, (Winter/Spring 1979), pp. 168-185. 47. Shadrach Woods, ‘Why Revisit ‘Le Pavillon Suisse’?’, Architectural Forum, 122, (June 1965), pp. 59-63. 48. Peter Carl, ‘Le Corbusier’s Penthouse in Paris, 24 Rue Nungesser-et-Coli’, Daidalos, 28, (June 1998), pp. 65-75. 49. Christian Sumi, ‘The Immeuble Clarté’, in Carlo Palazzolo and Riccardo Vio (eds.), In the Footsteps of Le Corbusier, (New York: Rizzoli, 1991), pp. 177-187. Regionalism and Vernacular Forms, 1929-1935 50. Peter Blake, ‘Thirteen’, in Le Corbusier: Architecture and Form, (Baltimore: Penguin Books, 1966), pp. 86-95. 51. Tim Benton, ‘Petite Maison de Weekend (Villa Félix), La Celle-St-Cloud’, in Michael Raeburn and Victoria Wilson (eds.), Le Corbusier: Architect of the Century, (London: Arts Council of Great Britain, 1987), pp. 65-66. The War Years, 1936-1946 52. Danilo Udovicki-Selb, ‘Le Corbusier and the Paris Exposition of 1937: The Temps Nouveau Pavilion’, Journal of the Society of Architectural Historians, Vol. 56, No. 1, (March 1997), pp. 42-63. 53. Antony Moulis, ‘Forms and techniques: Le Corbusier, the spiral plan and diagram architecture’, ARQ, Vol. 4, Issue 4, (December 2010), pp. 317-326. 54. Kenneth Frampton, ‘The Politics of the Unpolitical: Le Corbusier and Saint-Simonian Technocracy 1923-1947’, in Le Corbusier, (London: Thames & Hudson, 2000), pp. 116-129, 231-232. 55. Robert Fishman, ‘Vichy’, in Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier, (New York: Basic Books Inc., 1977), pp. 243-252, 301-302. Volume III. Post-War Reconstruction, 1946-1964 Ideas and Projects 56. Peter Clericuzio, 'Le Corbusier and the Reconstruction of Saint-Dié: The debate over Modernism in France, 1944-46’, Chicago Art Journal, 20 (2010), pp. 47-71. 57. Le Corbusier, ‘The Construction of Dwellings’, in Talks with Students from the Schools of Architecture, trans. P. Chase, (New York: Orion Press, 1961), pp. 24-34.
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    L’œuvre architecturale de Le Corbusier, une contribution exceptionnelle au Mouvement moderne The Architectural Work of Le Corbusier, an outstanding contribution to the modern movement Rapport de la Conférence Permanente Report of the Standing Conference November 2017 Allemagne, Argentine, Belgique, France, Inde, Japon, Suisse Germany, Argentina, Belgium, France, India, Japan, Switzerland 1 1. Executive Summary of the report In response to the recommendations adopted by the World Heritage Committee (Decision 40 COM 8B.31, hereinafter ‘the Decision’), the States Parties of Germany, Argentina, Belgium, France, India, Japan, and Switzerland (hereinafter ‘the States Parties’) approved the State of Conservation report and its Annex during the Third International Standing Conference (hereinafter ‘the Conference’) on November 8, 2017 in Tokyo. Prior to the Conference, the State Parties and Le Corbusier Foundation, the Secretariat of the Conference, held multiple technical meetings as well as a meeting with Ms. Regina Durighello, Director of theUnit of Counsel of ICOMOS International, to clarify the appropriate expected reaction following the recommendations by the Committee. With regard to introducing the Heritage Impact Assessment procedures for proposed development at all component sites (paragraph 4. a) of the Decision), each State Party organized the management system and regulations in the area of component part(s) and its/their buffer zone(s), and has developed a way to evaluate projects that may negatively affect the property based on its legal framework. With regard to developing monitoring indicators for all component sites (paragraph 4.b) of the Decision), the State Parties set up the indicators from the viewpoints of each attribute of OUV, authenticity, integrity, and conservation and management based on common format.
  • PINA BAUSCH LE CORBUSIER BOTERO C U L T U R a L C O N T E N T

    PINA BAUSCH LE CORBUSIER BOTERO C U L T U R a L C O N T E N T

    PINA BAUSCH LE CORBUSIER BOTERO c u l t u r a l c o n t e n t plastic arts photography architecture design movie theater 15th, 2021 / for free content / No. 3 February / Magazine of cultural music 3913 dance literature theater OBJET TROUVÉ In this third installment 3913 continues immersed in the world of dance. This time it’s Pina Bausch with one of her best choreographies, Café Müller, forty-five minutes of pure melancholy. And still with architecture, it’s the turn of one of the greatest of the twentieth century, the great polyphonic, overflowing, plural, Le Corbusier. We end with the colossal Colombian painter/sculptor Fernando Botero and his close connection with the Italian Quattrocento through Piero della Francesca. Idea, concept and production Rosingui Perez and CayDesign. Translation: Helen McNally (Eng). Tipography: Flama Basic, PMN Caecilla. Contact: [email protected] / +34 625 056 562 / +34 644 811 429 / @treintaynuevetrece Every show of hers is a shudder, a shock, a feast for the intelligence and the senses, from which she rarely leaves unscathed. From overflowing joy to the most unfathomable sadness, the territories of the brilliant creator are the uneasy and rugged zones of the human soul, a continuous bustle of splintered feelings, which at the end of each trip When Pina Bausch enters your life, she stays forever. transforms us into images of such pure beauty that it moves and comforts us. Desire and joy, hope and melancholy, aggression and seduction, hysteria and tenderness, euphoria and distrust, nostalgia, anguish and pain for unsatisfied love, loneliness, the isolation between men and women.
  • Studio Task WS09.Indd

    Studio Task WS09.Indd

    mass effects introduction wS 2009: Universität für Angewandte Kunst, Wien, o. Univ. Prof. Greg Lynn assistants: Kristy Balliet, Oliver Bertram, Justin Diles, Martin Murero This term we will continue working on the topic of mass and we will study an architecture of: • carving • hollowing • sculpting • thickness • poché • MASS We will shift our focus from layers of surfaces and structures to volume and mass. In task 1, we investigated the architectural problem of a sculpted, freestanding mass, independent of the landscape, containing a cavernous void space. Between the mass and the void is pochè. The design of fenestration and the relationship of the interior void(s) and spaces to the exterior are through massive pochè rather than through layers of surfaces. We will continue this investigation with the addition of program and landscape. The principle architectural problem is to create a sculpted mass with a discrete contiguous main interior space (a signifi cant void). The scale of the project is small to allow for more exploration of materiality and large scale sections and models. We will tackle a building typology with few or no windows, Agricultural Buildings. These buildings are comprised of various areas of production, processing, storage, and distribution, depending on the raw material or crop being stored/ produced. The site is in the Rhône Alpes region of France, along the main allee leading to the Royal Saltworks, by Ledoux. We will be looking exclusively at specifi c projects of Ledoux and Le Corbusier for precedents of mass and volume. There is no particular shape language or vocabulary germane to mass and pochè but nonetheless these two archi- tects are known for their use of primary shapes and platonic solids associated with a new kind of formalism.